Over the last two years, I have scanned black and white negatives and a few color slides I shot in NYC between late 1976 and 1980 when I was a student at the Rhode Island School of Design. My older sister lived in various apartments in SoHo and Greenwich Village and I visited every chance I got on school breaks. I enlarged and matted about 25 of these photos and took them with me when I moved to Rotterdam, the Netherlands in July 1980. I never printed any of the other photos, so scanning them provided an avenue of rediscovery of my own youth and a gritty NYC that no longer exists. This project summoned an array of emotions and memories about this “coming of age” period in my life and the inevitable passage of time. In 1981, I showed these photos in Rotterdam and got some press, one of which was a little critical and missed the point of my photographs. The critic said that my photographs lacked the social commentary of Bruce Davidson’s work. Although I admire Davidson’s work, it was never my intention to emulate his socially conscious photography. A few select photographers informed my early photographic work – especially those who worked for the Farm Security Administration, such as Walker Evans, Russell Lee, Jack Delano, and the great photographer Berenice Abbott. Today, my photos have far more meaning than they did back then because they picture a NYC that no longer exists due to gentrification, over commercialization, and greed disguised as progress. NYC in the 1970s I was a little astonished that I ventured into areas that were considered dangerous back in the 1970s, as evidenced by many articles written on this dark and turbulent era in NYC history. Yes, the city was edgy and…
I have been experiencing a wave of nostalgia – it comes with age and recent losses of dear friends and our beloved little kitty Pepper. For me, the holidays seem to inspire reflections on the past – thinking back to how much New York City used to mean to me at Christmas. I have been digging up wonderful Christmas-related NYC photos from the Library of Congress and decided to delve into my own archives to see what I could find. When I was a child and up through about 2004, my parents would visit NYC every December for an annual psychiatric meeting at the Waldorf Astoria. While my dad was attending lectures, my mom would go window shopping with some of her friends. As children, my sisters and I always looked forward to my parents coming home with intriguing presents. My dad would also visit Russ & Daughters and purchase obscene amounts of candy that he had shipped home. Chocolate covered coffee beans, pastel chocolate mint lentils, and chocolate covered raspberry rings are the candies that I remember most. He would tell me stories about buying pretzels and roasted chestnuts from street vendors, shopping at B. Altman, Gimbels, and other now defunct stores; telling me tales that made it sound so magical.
Just before I lost my high level position as director of communications for a national medical association in mid-June 2011, I read Just Kids by Patti Smith. In the darkest days after losing my job, I found inspiration and salvation in Patti Smith’s words. Just Kids also sparked a rediscovery of her groundbreaking music, but with a more appreciative, mature ear than I had at RISD when my freshman roommate played Horses day and night. Her cutting-edge punk rock music was a bit too hard for me back then, but listening to it some 30 years later made me fully comprehend the sheer genius and depth of her musical poetry. Below is a collage I created in homage to Patti Smith and Robert Mapplethorpe that I exhibited in a group show at Studio 659. During my depths of despair, I played several Patti Smith songs over and over as if I was once again a young adult coming of age. Well, I guess in essence I did go through a rebirth of sorts spurred on by losing my high-paying job. Having more time on my hands enabled me to get back to my fine art and exhibiting my work. Gloria, Dancing Barefoot, People Have the Power, and the brilliant Horses among other songs inspired this burst of creativity … that continues to this day. While I haven’t had a major solo gallery show, I feel promise looming on the horizon.
Much has been written about the history of postcards and there are a plethora of websites, collector’s clubs, blogs, and books on the subject. The earliest known picture postcard dates back to 1840. It was a hand-painted design on a card, sent in London to the writer Theodore Hook with a penny black stamp. A rather eclectic postcard collection is among the many treasures I have accumulated over the years. Easy to store in one large shoe box, I take these out on occasion as inspiration for my collages. I have yet to sell any of this collection, but really have no attachment except for a few postcards that evoke long-lost personal memories. Some of these postcards date back to my youth – a few are vintage late 1890s-early 1900s. I have fond memories of riding my bike as a young teenager to Archie’s Coins in Edgebrook and buying a few really cool antique postcards for pennies. I also have an attachment to beautiful, early handcolored photographic postcards bought in 1979 at the Porte de Clignancourt in Paris – my first trip to Europe.
As an impressionable young woman, I journeyed to fabled Manhattan from my relatively sheltered life as an art student at RISD in Providence, R.I. Upon alighting at Penn Station for the very first time, there was a bit of a glitch. My older, worldlier sister who had already been living in the Big Apple for 3 years had not given me clear instructions on where we were to meet. Those were the days before cell phones – there was no way to get in touch with her. I was an innocent 18-year-old in New York City wondering what the hell had happened to my sister – after about 40 minutes or so I decided to go search upstairs and there she was … my street-smart sister nearly as frantic as I. For a good part of this visit I was on my own – marveling at the gritty, wonderful streets of NYC. Camera in hand, I attempted to summon the spirits of dead immigrants on the Lower East Side, admired the Art Deco lines of the Empire State Building – imagining King Kong and Fay Wray at the top, and prowled Canal Street for Vintage. A longtime admirer of the photography of Bernice Abbott, Jacob Riis, Walker Evans, and Helen Levitt, I too desired to capture a moment in time in “The City that Never Sleeps.”